On his way to visit Spain in 1885 by way of London, Chase decided to introduce himself to Whistler (1834–1903), whose works he had long admired. Whistler urged him to remain so they could paint portraits of one another. In depicting Whistler, Chase echoed traits that appear in his compatriot's recent portraits, such as that of ThÉodore Duret (13.20): an elongated figure, a low-key palette, free brushwork, and ambiguous space. Although Chase must have intended to honor Whistler and his style with these echoes, Whistler was offended, calling the portrait a "monstrous lampoon" and possibly destroying his image of Chase.